Review of Mean Streets (1973) by Aaron A — 09 May 2011

"You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bull**** and you know it.".

Synopsis: In New York City's Little Italy, Charlie deals with the pressures of working his way up the ranks of a local mob, while coping with his family's disapproval of his epileptic girlfriend. Meanwhile, his small-time gambler friend, Johnny Boy, threatens to ruin Charlie's reputation with debts to a loan shark.

Every moments drips with the atmosphere and culture of a major metropolitan area; from the sounds of the (mean) streets to the thumbing through wads of cash. Mean Streets is perhaps Scorsese at the peak of his powers, he has a way of using music in his films that adds to the experience instead of taking from it like most directors. Also it appears as if lot of the scenes in Mean Streets are unscripted, perhaps more than any of his other films.

In Scorsese's hands, the seemingly unscripted scenes allow the talented cast to shine. De Niro is highly believable as a care-less punk who enjoys disruptive behavior and irritating those whom he is close to and Harvey Keitel is electrifying as a guilt ridden low-level racketeering mobster. The supporting cast also shine, especially when the verbal insults and abuse start to wear thin each's temper.

Mean Street's relatively subtle catholic influence is truly what makes this an unforgettable experience, and perhaps an unmistakable Scorsese picture. Amid all the violence, all the rambunctious bar fights, neighborhood destruction, and verbal abuse are quick fire glimpses of christian symbolism and redemption via light self mutilation. It's quite powerful.

Mean Streets is vastly under appreciated by mainstream audiences, as it's one of the director's best works, and an essential viewing for fans of the cinema.